A morning in Interlaken 1875

Editor: So, this is Ferdinand Hodler's "A Morning in Interlaken," painted in 1875. It looks like it's primarily oil and watercolor. It evokes a sense of tranquility, almost melancholic, with the muted palette. What strikes you when you look at it? Curator: I immediately focus on the materials and the production of this work. It is essential to recognize the labour behind *plein air* painting at the time. How would an artist ensure consistency when moving between media, particularly given the limitations of portability for oil paints and maintaining a clear watercolour palette in a landscape? What specific labour practices did he employ in capturing this scene? Editor: That's a really interesting perspective. I hadn't thought about the challenges of *plein air* painting and what it demanded from the artist in terms of physical labor and material choices. Curator: Exactly! Consider the implications of working directly in nature in the late 19th century. The production of materials, the logistics of transporting them, and the actual physical act of painting—each aspect highlights the artist's relationship to both the environment and the emerging art market. How does Hodler negotiate these constraints and make choices? Does this painting signal any social or economical messages regarding the development of tourism at the time? Editor: It's true; framing it as a product of labor shifts my view entirely. It becomes more about the act of creation and the social circumstances than simply the pretty landscape. Now I see the development of infrastructure with the placement of that bridge. Curator: Indeed. Reflecting on both medium and production processes unveils a deep, nuanced perspective regarding historical context. We see how his commitment and mastery enabled production outside the formal studio system, bringing to question established hierarchies. Editor: I've never considered those constraints, like paint stability or outdoor working conditions. This way, I’ll look at all landscapes in a new way. Curator: Absolutely! It's about appreciating the tangible realities and challenges of making art.